Keyed zither.



H. C. MARX.

KEYED ZITHER.

APPLICATION FILED JAN.16, 1915.

3 SHEETS-SHEET 2.

z z I r I I I 1 I I I 1 1 r I 1 1 I 1 I I I I 1 1 I I I I l I I I I I I I l I I I r l I I l I I I r 1 I I I l I I jwtzjtekssesf v jwe7zza7i' w. A4 95W,

H. C. MARX.

KEYED ZITHER.

APPLICATION FILED JAN. 16. I915.

Patented July 11, 1916.

3 SHEETS-SHEET 3 III? I I I I I ll vendor 777cmE Jc II lh r llllll L a I I ll IIIL be prolonged.

UNITED STATES PATEET QFFTCE.

HENRY C. MARX, 0F PALMER, KANSAS ,ASSIGNOR TO THE PHOIIOHARP COMPANY, OF EAST BOSTON, MASSACHUkfUTTS, A CORPORATION OF MAINE.

KEYED ZI'lI-IER.

Application filed January 16, 1815.

T 0 all whom it may concern Be it known that I, HENRY C. MARX, a citizen of the United States, and a resident of Palmer, in the county of lVashington and State of Kansas, have invented certain new and useful Improvements in Keyed Zithers, of which the following is a specification.

This invention has relation to manuallyoperated playing attachments for stringed instruments such as zithers and the like.

One of the objects of the invention is to provide a playing attachment hich may be used in connection with an instrument strung to produce the tones of a chromatic scale, in which the keys may be manipulated without interfering with each other and yet without materially increasing the standard width of the instrument.

Another object of the invention is to prolong the trill, or rapid vibration of the hammer against the string.

Further objects of the invention are to provide an improved mounting'for the hammers, to reduce the number of parts, to provide an easy action, and to provide certain other improvements, all of which will be fully explained in the following specification.

Referring to the accompanying drawings which illustrate one embodiment of the invention,Figure 1 represents in plan view a zither provided with my improved playing attachment. Fig. 2 represents a longitudinal section through one end of the same, and shows one of the keys in the position to which it is moved for causing its hammer to strike a corresponding string. Fig. 2 represents a similar section and shows how the trill produced by the hammer may Fig. 3 shows a perspective view of the frame work of the attachment. Fig. 4. illustrates one of the keys. Fig. P represents a cross section through one of the keys and the finger piece thereon. Fig. 5 illustrates a portion of a zither in which the melody strings are arranged in a diatonic scale. Fig. 6 represents an edge view of the attachment used on the last mentioned instrument. Figs. 7 and 8 represent enlarged sections on the lines 7-? and 88 of Fig. 8.

The instrument illustrated in Figs. 1 to 4:

inclusive is a Zither having the usual con-.

chord strings and with melody strings ar Specification of Letters Patent.

Patented July 11, 1916.

Eierial No. 2,639.

ranged to provide a chromatic scale of two octaves. As illustrated, there are two melody strings for each tone. These melody strings, as shown, are arranged in groups with a space between the strings B and C,

and E and F. The interval between B and C and between E and F is a half tone, and, in order to prevent the striking of two keys at the same time, as will be subsequently explained, the groups of melody strings are spaced apart. For the string or strings of each tone a key and spring hammer is provided, and the keys are so mounted that, upon the depression of each, the spring hammer will be caused to strike the corresponding strings either a single blow or a series of blows according to the length of time during which the key is depressed. The keys corresponding to the strings G, A, B, C, D, E and F are provided with raised projections or finger-pieces arranged in one row, and the remaining keys are likewise provided with raisedfinger-pieces or projections, but these latter are in a different row and in a lower parallel plane, somewhat like the keys in a pianoforte thus making it possible for a, player to depress any one of the keys without striking an adjacent key, notwithstanding the fact that the keys are relatively narrow and are arranged in close juxtaposition. Normally the keys are at rest at an angle to the strings, and they are all pivoted or fulcrumed near their outer or rear ends, so that, when the key is de pressed, the hammer carried thereby is caused to move through a relatively long arc.

Each key is formed or provided with stops which limit its movement in either direction, one of said stops so limiting the move ment of the free end of the key toward its corresponding string that the spring hammcr will be caused to vibrate rapidly by the momentum acquired during its downward movement, in consequence of which the trill or sound produced will be similar to that of a mandolin in case the key be maintained in its depressed position.

Referring now to the drawings, the attachment is illustrated as comprising a metallic frame adapted to be secured to the straight end of a zither. This frame consists of an elongated plate 5, the lower side 6 and the ends 7 of which are bent inwardly and forwardly so as to bear upon the end of the instrument and form a chaim pivot bar 15. the pivot or stop bar but it is held from disher to receive the hitch pins 8 for the strings 9. The plate thus forms an open-sided boxlike casing which may be secured in place by screws 10. The end Walls 7 are provided with forwardly extending projections 11, the lower edges 12 of which rest upon the edge of the sounding board in slots formed in the bridge 13 so as to assist in locating the frame accurately upon the instrument. The plate 5 extends some little distance above the plane of the strings and is then curved forwardly and downwardly, as indicated at 1.4, to provide a hand rest as well as what may be termed the upper wall of the box-like casing.

15 indicates an inclined fulcrum or pivot bar upon which the keys are pivoted or fulcrumed. This bar is provided with a rearwardly extending web 16 and a clownwardly extending web 17, the latter being secured to the inner face of the plate 5 by screws 18 and nuts 19. On the upper edge of the pivot bar are pivoted or fulcrumed the keys which are indicated at 20 and 21 respectively. The keys 20 are for the strings which comprise the diatonic scale while those at 21 are for the strings G#, A#, Cjq'z, D#, and F#. Each key consists of a flattened metallic tube so that it is substantially incapable of bending. Near its rear end the tube is opened to provide two parallel flat sides as indicated at 22. In each side there is a notch to receive the pivot bar 15. The edges or walls 23, 24 of each notch are at an acute angle, and they form stops to engage the opposite faces of the bar 15 and limit the oscillatory movement of the key about the upper edge of the Each key rests loosely upon location by the edge of the hand rest 14: which is in relatively close proximity to and parallel with the upper edge of the pivot bar.

For the purpose of spacing the keys and holding them against lateral movement, the pivot bar is provided with a series of fingers or spacers 25 which pro ect upwardly, rearwardly and then downwardly, their ends being united by a bar 26 to prevent their being bent. The parts 15, 16, 17, 25 and 26 may be all formed of asingle metallic stamping bent to proper form as clearly shown in Fig. 3.

Into each key 20 or 21, as the case may be, there is inserted the spring shank of a hammer. At the free end of the spring shank there is a head or striker 41 formed of lead or other suitable material. Each spring performs two functions :-It serves to carry the head &1 and effect the vibration thereof against the string and it also serves to hold the key normally in its raised position. To this end, each spring pro ects rearwardly from the tubular portion of the key and is bent downwardly so as to engage the corner formed at the junction of the stop or pivot bar 15 and the web 16 as illustrated in Fig. 2. The stress of the rear end of the spring forces the key upwardly until the walls or edges 24: of the notches engage the rear face of the stop or pivot bar. From this position, the key may be depressed against the stress of the spring until the wall or edge 23 engages the front face of the pivot bar 15 and stops the downward movement of the key, as shown in Fig. This occurs when the key is substan tially parallelwith its corresponding spring.

During this downward movement, the mo- U mentum, acquired by the head 41, is sufli' cient to cause the vibration of the free end of the spring hammer and the repeated striking of the corresponding string by the head. Each spring is held frictionally in the flat tubular portion of the key and fits sufficiently tight to prevent any longitudinal. movement in the shank of the key. This longitudinal movement is further prevented by the bend in the rear end of the spring shank, as will be readily understood. The free forward portions of the spring shanks are of the same lengths whereas the keys 20, 21 are of different lengths in order that the heads 41 of two adjacent hammers may not interfere one with the other. For convenience, the keys for those hammers which engage the strings forming the diatonie scale of the key of C may be shorter than those which engage the intermediate strings. The pivot bar and its web 16, together with the upper portion of the bar 5 and the hand rest 14-, form a chamber or casing in which the rear ends of the keys are free to oscillate, but, by removing the attachment from the instrument and detaching the pivot plate by removing screws 18, the keys and their hammers may be readily removed from the pivot plate or bar as will be readily understood.

hen the key has been brought to horizontal position, as shown in Fig. 2, the hammer will continue to vibrate against the spring if the key be kept depressed, and if the head of the hammer has acquired sufficient momentum in the depression. And, while the head will continue to vibrate for some time, it will soon cease impinging upon the string as its vibratory movements de crease. I provide, however, for prolonging the note or trill by mounting the stop or pivot bar so that it can be moved forward and downward, whereby the hammer head will be brought nearer to the string and thereby increase the number of impingements on the string. This may be accomplished ina number of ways, but I have found that it may be done, very simply, by locating the securing bolts 18 and nuts 19 near the lower edge of the web 17 of, the

stop bar, so that the pivot or stop bar with its webs 16 and 17, which are of sheet metal and more or less resilient, may be bent forwardly and downwardly, as shown in Fig. 2. In this figure, the full lines show the parts when the key has been depressed with a relatively light pressure and the hammer permitted to come to a state of rest. In dotted lines I have shown the key and hammer in a-state of rest, after having been depressed with greater force, in which case the head is closer to the string. Ordinarily, in playing, the pivot or stop bar 15 will not be bent forward, but, when it is desired to secure a long sustained tone, the player, after depressing the key to the full line position, will gradually increase pressure upon the key so as to bend the stop bar forward and downward, as the vibrations of the hammer head decrease in amplitude, to insure the continued impingement-of the head upon the string.

It is important that an instrument of this character should be narrow and that the playing attachment should be capable of use on the standard instruments. In these instruments, the melody strings are close together, and, as a result, the keys must not only be narrow but must be arranged closely side by side. The result is that each key is narrower than the width of the finger of an adult person, rendering it difficult if not impossible with such an arrangement to depress one key without depressing one or both of the adjacent keys. To overcome this difficulty, I have provided the keys, as previously indicated, with raised finger-pieces or projections, the top surfaces of which are elevated some distance above the surfaces of the forward ends of the keys. These finger-pieces are arranged in two rows, those for the keys of the diatonic scale being in one row and those for the remaining keys being in a parallel row but more remote from the fulcrum. Preferably, although not necessarily, the surfaces of the latter fingerpieces are in a plane above those of the finger-pieces for the keys of a diatonic scale. The finger-pieces of these two rows are indicated at 27 and 27 respectively, those at 27 being attached to and carried by the keys 20 and those at 27 being similarly attached to and carried by the keys 21. These fingerpieces may be made of any suitable material, but I preferably stamp and bend them out of light thin metal. Each finger-piece has a flat top it, downwardly converging sides 71 which terminate in curved flanges j to embrace the fiat tubular portion of the key, and ends .70. Each finger-piece is thus hollow as shown in Fig. 4 and, being formed as previously stated of light thin metal, does not add any substantial weight to the key.

These finger-pieces are arranged relatively close to the hand rest 1 1 and the fulcrum or pivot bar 15 and are in a convenient position to be manipulated.

For the purpose of arresting vibration of the head when the hammers have been returned to their normal inclined positions, I provide a rest which is indicated as a whole at 28. It consists of a flat metallic plate or supporting member. The parallel marginal portions 29 and 30 are doubled under so as to clamp the edges of a Sheet 31 of cushion- F ing material such as felt. Between the felt and the middle portion of the rest, I arrange a plate 32 having down-turned marginal portions or ribs 33 which hold the middle portion of the sheet of felt away from the plate 28, as shown in Fig. 2. The hammers engage the felt between the marginal portions of the plate 32 noiselessly.

he rest is supported upon barsBsi which are substantially similar in construction to the keys except that they are longer and are bent first upwardly and then rearwardly, as shown at 39 in Fig. 2, their ends being passed through apertures formed at the junction of the marginal portion 30 and the plate 28, these apertures being indicated at 35 in Fig. 1. These bars may be as many in number as desirable; in fact, there may be such a supporting bar between each two adjacent groups of keys, although in practice I use four of said bars. In Fig. 1 it will be noted that two of these bars are located beyond the ends of the keys and two others are located between the first and second, and fourth and fifth groups of keys. Angular spring clips 36 are secured to the bars adjacent the inclined portions 39 thereof so that a sheet of music, as indicated at 37, may have its lower end inserted between the free ends of the clips and the inclined or angular portions of the supporting bars so as to be and their corresponding strings are arranged in spaced groups with the spaces between the strings and the corresponding keys for the semi-tones of the diatonic scale, and to provide all of the keys for the strings of the chromatic scale with raised finger-pieces, with the finger-pieces for the sharps and flats in a row parallel to the remaining finger-pieces, thus making it possible to provide a compact arrangement without danger of accidentally depressing two adjacent keys simultaneously. In consequence of the construction and arrangement which I have illustrated and described, an instrument is provided, the melody strings of which may be employed in playing a wide range of musical compositions. I have shown but four groups of chord strings by way of illustration, but, if desired, I may increase the number of these groups to form a complete cycle as illustrated in my co-pending application Serial No. 787,154, filed August 28, 1913.

The pressure of the spring shanks of the hammers is sufficient to maintain the rest in an elevated position, but, in packing the instrument, the rest may be depressed into close proximity to the strings.

It is evident that various changes may be made in the details of construction which I have shown and described without departing from the spirit and scope of the invention. For instance, it is convenient, though not essential, that each spring shank should be formed of a single leaf spring, and that the pivot for the keys (2'. e. the edge of the bar 15) should be integral with that portion of the bar 15 which coacts with the two stop members on the key e. the walls of the notches) to limit the movement of the key in opposite directions.

In Figs. 5 to 8 inclusive, the instrument is provided with melody strings arranged in a diatonic scale in which case the raised finger-pieces need not be used. In this case, the keys 42 extend from under the hand rest 44 to a point adjacent the edge of the rest 43 so that greater ease in playing is secured without cramping the fingers of the player, as each of the keys may be engaged at any point between the hand rest and the rest 43.

.The rest 43, as shown, consists of a thin rectangular metallic plate, which at its forward edge is bent or folded back and forth as at 46 so as to clamp the edge of the felt cushion or pad 45 and hold it away from the under face of said plate as shown in Fig. 6. The rear marginal edge of the plate is folded under as at 48 to engage the rear edge of the cushion or pad. The heads of the spring hammers engage that portion of the pad which is held away from the under face of the plate. The rest is engaged with the hooked ends 49 of bent metallic strips 50 held in bars 51 like the keys. The metallic plate or rest has tongues 52, 52 formed by punching and bent upward from the plane of the plate at the rear edge thereof to provide clips for holding sheet music, see Fig. 8.

For the purposes of explanation and clarity of description, I have used the terms front, rear, forward and rearward, but these terms are not to be considered as implying limitations as they are used only in a relative sense.

Having thus explained the nature of my said invention and described a way of making and using the same, without attempting to set forth all of the forms in which it may be made or all of the modes of its use, what I claim is 1..The combination with a stringed musical instrument, of a bar arranged transversely of the strings, a plurality of movable keys fulerumed on said bar, each key having spaced stops for enga ing said bar to limit the movement of the Keys in opposite directions, and a spring hammer carried by each key.

2. The combination with a stringed musical instrument, of a plurality of spring hammers arranged in operative relation to the strings, a plurality of oscillatory keys therefor, and a pivot bar for said keys, said keys being notched and resting upon said pivot bar, the walls of the notches serving to alternately engage said pivot bar and limit the oscillatory movement of the keys in opposite directions.

3. The combination with a stringed musical instrument, of a plurality of spring hammers, a. plurality of oscillatory keys for supporting said hammers, each key being notched at its rear end, a pivot bar extending into said notches so that the keys rest thereon, and means for preventing the displacement of said keys from said pivot bar.

4. The combination with a stringed musical instrument, of a plurality of spring hammers, a plurality of oscillatory keys for supporting and operating said hammers, each key having separated stops, means for supporting said keys, and a stationary member located between said stops to limit the oscillatory movement of said keys.

5. The combination with a stringed musical instrument, of a plurality of spring hammers, a plurality of oscillatory keys for supporting and operating said hammers, each key having separated stops, and a stationary member projecting between said stops to limit the oscillatory movement of said keys, said member constituting a fulcrum for said keys.

6. The combination with a stringed musical instrument of a thin fiat bar arranged transversely to the strings in a plane at an acute angle to the plane of the strings, a plurality of oscillatory keys arranged longitudinally of the strings and notched to receive and rest upon the edge of said bar, the walls of the notches being adapted to engage the sides ofrthe bar to limit the movements of theyxkeysin opposite direcfions, and spring hammers carried by the Keys.

7. The combination with a stringed musical instrument, of a bar arranged transversely to the strings, a plurality of oscillatory keys arranged longitudinally of the strings and notched to receive and rest upon said bar, the walls of the notches being adapted to engage the sides of the bar to limit the movement of said keys in opposite directions, a detachable member arranged above said keys to prevent bodily movement thereof from said bar, and hammers carried by said keys.

8. The combination with a stringed musical instrument, of a bar arranged transversely to the strings, a plurality. of oscillatory keys arranged longitudinally of the strings and notched to receive and rest upon said bar, the walls of the notches being adapted to engage the sides of the bar to limit the movement of said keys in opposite directions, a cover plate covering the rear ends of the keys and having its edge par allel to and closely adjacent said bar to hold the keys on said bar, and spring hammers carried by the front ends of said keys.

9. The combination with a stringed musical'instrument, of a bar arranged transversely of the strings, a plurality of keys notched to receive and rest on said bar, spring hammers carried by said keys, and means located over the keys for preventing their dislocation from the bar.

10. The combination with a stringed musical instrument, of a hollow metallic casing detachably secured to the end of such instrument, a pivot plate in the interior of the casing and having rearwardly extending spacer fingers, a plurality; of keys fulcrumed on said pivot plate between said spacer fingers, and hammers carried by the keys.

11. A stringed musical instrument having melody strings forming a chromatic scale and arranged in spaced groups, with spaces between the B and C strings and between the E- and F strings, and a plurality of groups of narrow manually operated hammers operatively arranged and spaced corresponding to and registering with the strings.

12. A stringed musical instrument having melody strings forming one or more chromatic scales and arranged in spaced groups, the spaces between the groups being located between the strings for the semitones of the diatonic scale of C major, a plurality of groups of manually-operated hammers spaced corresponding to and registering with the strings, a raised finger piece for each hammer, the finger pieces for the hammers corresponding to the strings of said diatonic scale being in one row, and the finger pieces of the remaining hammers being in a parallel row and in a higher plane.

13. The combination with a stringed musical instrument having its strings tuned to the chromatic scale, of spring hammers corresponding to said strings, pivoted keys carrying said spring hammers and normally in a common plane, and hollow raised finger pieces on said keys, said finger pieces being arranged in parallel rows with the tops of the keys in one row elevated above the tops of the keys in the adjacent row.

14. A playing attachment for stringed musical instruments, comprising a pivot bar, a plurality of spring hammers, and a nonflexible key for each hammer having a tubular body portion receiving its corresponding hammer, and a notched end portion resting upon the pivot bar in operative relation to its corresponding string.

15. The combination with a stringed musical instrument, of a pivoted key, means for pivotally supporting said key in operative relation to the corresponding string, a hammer having a spring shank attached to the key with its rear end free, and means engaging the rear free end of the spring shank whereby the key is held yieldingly away from its corresponding string by said spring shank.

16. The combination with a stringed musical instrument, of a plurality of pivoted keys, a leaf spring extending from each end of the keys, hammer heads carried by the springs at the front ends of the keys, a pivot for the keys and means engaging the springs at the rear ends of the keys, whereby the front ends of the keys and the hammer heads are held yieldingly away from. the strings by said springs.

17. The combination with a stringed musical instrument, of a pivot bar arranged transversely of the strings, a plurality of keys pivoted on said bar, and a spring hammer attached to each key to project from the front free end thereof, said spring hammer having a free rear end for engagement with said bar to hold the key in a position away from its corresponding string.

18. The combination with a stringed musical instrument, of a plurality of pivoted keys, a plurality of spring hammers supported by said keys and having free rear ends, and means engaging the rear ends of said spring hammers for holding the front ends of the hammers and the keys away from the strings.

19. The combination with a stringed musical instrument, of a pivot bar arranged transversely across the strings, a plurality of keys pivoted upon the edge of the bar, spring members on the keys engaging the bar to hold the front ends of the keys away from their corresponding strings, and headed spring members projecting from the front ends of the keys for engagement with the strings when the keys are operated.

20. The combination with a stringed musical instrument, of a pivot bar arranged transversely across the strings, a plurality of keys pivoted upon the edge of the bar, hammers connected to the keys to be operated thereby, spacers projecting from said bar between the keys to hold them against lateral movement, and finger pieces by which said keys may be actuated.

21. The combination with a stringed musical instrument, of a plurality of headed spring hammers, and a rest arranged for engagement by the heads of said hammers, said rest comprising a supporting member, and a layer of cushioning material stretched across said member and separated by an open space from said supporting member.

22. The combination with a stringed musical instrument, of a plurality of headed spring hammers, a rest arranged above the hammers for engagement by the heads of said hammers in their retracted position, supporting bars for said rest, and clips supported by said. bars for yieldingly engaging the lower edge of a music sheet.

23. The combination with a stringed musical instrument, of a plurality of headed hammers, a rest located above the hammers for engagement by the heads of said hammers, supporting bars for said rest, and spring clips on said bars having free ends for coaction with said bars for engaging and supporting the lower edge of a music sheet.

24:. The combination with a stringed musical instrument, of a plurality'of keys pivoted adjacent their rear ends, a pivot bar therefor, and a spring hammer attached to each key, each hammer having a rear free end in engagement with the pivot bar whereby it holds the key yieldingly away from its corresponding string.

25. The combination with a stringed musical instrument, of notched keys, a bar extending into the notches and on which the keys loosely rest, a member opposite said bar to hold the notched keys against dislocation therefrom, and a spring engaged with each key for holding it yieldingly on said bar.

26. The combination with a stringed musical instrument, of a spring hammer, and a member for arresting the movement of the hammer toward the corresponding string, in consequence of which said hammer is caused by its momentum to vibrate against said string, said member being movable to prolong the vibration of the hammer against said string.

27. The combination with a stringed musical instrument, of a spring hammer, means for supporting said hammer, a mem ber for arresting the movement of the ham mer toward the corresponding strings, in consequence of which said hammer is caused by its momentum to vibrate against said string, and means by which said hammer may be permitted to approach said string as the vibrations of the hammers decrease in amplitude, to prolong the impingement of said hammer upon the string.

28. The combination with a stringed musical instrument, of a spring hammer, means for supporting said hammer, a member for arresting the movement of the hammer toward the corresponding string, in consequence of which said hammer is caused by its momentum to vibrate against said string, and means for yieldingly supporting said member whereby, when the pressure of the hammer on the member is increased, said member will yield in a direction toward the string for the purpose set forth.

29. The combination with a stringed musical instrument, of a fiat bar arranged across the strings, a series of keys notched to rest upon an edge of said bar and to provide stops adapted alternately to engage the front and rear faces thereof to arrest the movements of the keys, each key having a spring hammer, and means for yieldingly supportin said stop bar.

30. The combination with a stringed musical instrument, of a spring hammer, a key to which said hammer is attached and relatively to which it may vibrate, a member for arresting the movement of the key toward the string, and means for permitting the key carrying the spring hammer to be moved, after being arrested, toward the string to prolong the vibration of the hammer against the string.

31. The combination with a stringed musical instrument, of a plurality of keys, means for pivotally supporting said keys, and headed spring hammers projecting from the free ends of said keys, the spring shanks of said hammers extending beyond the free ends of said keys being substantially equal in length, but the alternating keys being of different lengths, whereby the hammer heads are prevented from interfering with each other.

32. The combination with a stringed musical instrument, of a plurality of spring hammers each comprising a spring shank and a head on the free end thereof and projecting laterally therefrom, the heads of the hammers being arranged in two parallel rows transverse to the strings, keys for supporting and operating said hammers, and means for pivotally supporting the keys to move about a common axis.

33. The combination with a stringed musical instrument, of a support arranged transversely of the strings, a plurality of keys fulcrumed on said support, spring hammers carried by said keys and projecting from the free ends thereof, and each comprising a head and a spring shank, the operative portions of all the shanks being of the same length and the heads being arranged in two parallel rows.

34. The combination with a stringed musical instrument, having strings tuned to a chromatic scale, of a support extending transversely of the strings, keys fulcrumed on said supports, headed spring hammers projecting from the free ends of said keys and arranged for impingement upon the several strings, the projecting portions of said shanks being substantially equal in length, the keys for the strings of the diatonic scale of C major being equal in length to each other but being different in length from the keys for the remaining strings,

In testimony whereof I have afiixed my 1.5

signature, in presence of two Witnesses.

HENRY C. MARX. Witnesses MARCUS B. MAY, P. W. PEZZETTI.

Copies of this patent may be obtained for five cents each, by addressing the Commissioner of Patents, Washington, D. C. 

